Review:Monster Magnet is a band whose far-reaching influence on the world of Rock music is not always properly appreciated. Without them, such Hard Rock giants such as Queens of the Stone Age and Eagles of Death Metal may have never seen the light of day, and yet Monster Magnet has never become the household name that they probably should be. After all, the school of Monster Magnet is a deceptively large one, and an excellent recent graduate of that school has recently surfaced with the name of Spacelord.

There are Monster Magnet followers of two basic varieties: Desert Rockers a laQueens of the Stone Age, Brant Bjork and Kyuss; and Stoner/Sludge Metallers a laSoundgarden and Red Fang. Spacelord straddles this line a bit, but tends to adhere a bit more to the Stoner Metal side of things. As a matter of fact, Spacelord’s self-titled debut is quite reminiscent of the early days, sounding like they’d be right at home among the track-list of Louder than Love, especially tracks like the 6-minute sludgey atom bomb “Warlike”, which opens with lots of reverb and closes with sinewy guitar lines that Soundgarden’s Kim Thayil would be proud of.

Spacelord is first and foremost a very genuine affair. There’s nothing absolutely perfect here. It is perfect in its imperfection. That’s not to say the music is bad – in fact, it’s very much the opposite – But a huge amount of personality is found in those little moments where a backing vocal is a little flat, or a guitar comes in the tiniest bit late. This is not a tightly-composed Progressive Rock opus, and it shouldn’t be. This is an intentionally organic album. The performance here is not done by robots programmed to hit every note with surgical precision, it is done by humans – real living humans, and the interplay and charm associated with such a work breaths through this album impeccably.

Spacelord is the album that it needs to be and not an iota less. With their very first record, Spacelord has asserted a very real identity for themselves. It is one that regales you with the feeling of the early 90’s, when Stoner Metal was at its absolute finest. It gives you hope for another golden era that Monster Magnet and Kyuss would likely welcome with open arms.

The Glitter of Infinite Hell – CD // DD

Self Released – October 31st, 2017 on Helloween!!

Terry “The Ancient One” Cuyler

“Yum…May I have a second helping?”

Hey everyone this is Terry the Ancient One and I got some more kickin’ Doomaphonica for your Rocktober by Clouds Taste Satanic. Formed in 2013, Brooklyn’s instrumental Doom Quartet is made up of bassist Sean Bay, drummer Christy Davis, guitarist Steven Scavuzzo, and guitarist David Weintraub. While pretty close mouthed about themselves on their Facebook Page and just as mysterious in Encyclopedia Metallum, They have managed to amass a small army of followers which I think is due to the fact Clouds Taste Satanic is promoted mainly by their loyal and deeply devoted fans through word of mouth and social media outlets.

While “DOOMED & STONED” has been quoted as saying “one of the most remarkable and tragically unknown metal bands of our time continues to reach new creative heights.” in their review of latest album by Clouds Taste Satanic. I must say I disagree on the part about them being tragically unknown. If they are then tell me why I am seeing them all over Facebook’s various metal and doom pages and communities and in the big underground Webazines: Decibel Magazine , CVLT Nation, DOOMED & STONED, Outlaws of the Sun, The Sludgelord , Metal Bandcamp, Sleeping Shaman and these are just the big ones. DOOMED & STONED, as cool as I think you are I think you’ve smoked a bit much.

Now that I have probably pissed off the Rolling Stone of doom music I will tell you a little about Clouds Taste Satanic latest musical offering “The Glitter of Infinite Hell.” Scheduled to be released October 31st, 2017, this 4 song, 74 minute demonic masterpiece of doom backs one hell of a punch. It’s songs fell like an opium dream turned into nightmare. Quite possibly inspired by Old Scratch himself “The Glitter of Infinite Hell” seems to tell the story of Lucifer’s rebellion and fall with the songs Greed, Treachery, Violence, and Wrath.

Opening Track off “The Glitter of Infinite Hell”

The songs feel like an opium dream turned into nightmare. What’s really cool about this album is the songs sound like the titles they are given. Through a brilliant combination of Doom, Sludge, Psychedelic Rock and Stoner riffs; “The Glitter of Infinite Hell’s” tracks manage to convey the meaning of the songs titles. For instance, the opening track ‘Greed’ sounds like a hulking beast lumbering across the land it laid waste filling its maw in a vain attempt to satiate its endless hunger. I could continue about every track but I think you are going to have to listen for yourselves to fully understand. You now have your soundtrack for Halloween this Year compliments of CTS!!

Break out your headphones for this one boys and ghouls Clouds Taste Satanic has some amazing ear candy ready for you. In “The Glitter of Infinite Hell.” If you can’t afford this one, beg your mom, dad, wife, husband or don’t buy that $6.00 Cup of Coffee for One Day… and spend the $5.00 to get the digital download, or $7.00 for the CD. If that doesn’t work, sell blood, volunteer for an experiment, sell sperm/eggs or you could try to sell your soul to Satan. In the mean time here are some of their past videos and a Bandcamp link to the new album.

Tombs

The Grand Annihilation – Vinyl // CD // DD

Metal Blade – Released: June 16, 2017

Reviewed by Aaron “Red Beard” Wall

Tombs are back. Founded in Brooklyn in 2007. Through 3 full lengths, and a plethora of lineup changes, mastermind Mike Hill stood firm, stood tall, and stood fast. Tombs consists of the aforementioned Hill-guitar/vocals, Evan Void-guitar, Ben Brand-bass, Charlie Schmid-drums, and rounded out by Fade Kainer-synths. Tombs are desolate, they are devoid, and live to destroy. Tombs are dark and dank. Tombs are toxic chemicals bubbling in a devoid nuclear wasteland. Picture a dark industrial warehouse, if you will…black metal is the floor. It is what Tombs and Hill stand on. Black metal is the core, the base. The walls consist of death metal, hardcore, sludge, and post punk. The ceiling being the bleak atmosphere and soul crushing noise and ambiance.

‘Black Sun Horizon’ begins the record in full on black metal mode. Blasting darkness into your brain. Tremolo riffing with luscious melodies of evil. Tearing and ripping at your heart, Hill and Tombs flow seamlessly between black and death alongside vocals of extreme and hateful passion.

‘Cold’ is a slower paced sludge dirge with a swing that ebbs and flows. ‘Old Wounds’ pummels you with emotional extremity. An empty feeling of nothingness as we get the first introduction of post punk on ‘The Grand Annihilation.’ With great effect I might add.

‘November Wolves’ is my favorite track off of the record. It begins with a sick ass core stomp, that leads directly into a death metal march. Riffs chugging like a freight train. Groove as thick as thieves. This jam is reminiscent of ‘Age of Nero’ era Satyricon. Killer song.

‘Underneath’ brings in the post punk vocals that bring to mind Bauhaus, or Joy Division with crusty post black metal destruction underneath. You would think this, an odd combination, but it really works.

‘Way of the Storm,’ ‘Shadows at the End of the World,’ and ‘Walk with Me in Nightmares,’ carry on the twisting, turning, genre bending filth. Switching seamlessly and pulling from no less than five subgenres. Few bands can pull this off. Especially without being choppy or pretentious.

‘Saturnalia,’ and the epic closer ‘Temple of Mars’ wrap this stellar album up with Hill and Tombs pressing their boots firmly down on your throat. Its kill or be killed…and these guys ain’t dying.

In closing, on their Metal Blade debut, Tombs exerts more flavor and texture. All different kinds, and they are all disgusting and wretched. Hill’s screams of disillusionment. Guitars sharp as razor wire and drums that crush faces. Tombs are intense with absolutely no let up. Hill has written his best record yet in ‘The Grand Annihilation.’ Same ole Tombs, just more varied, and with a laser focus. If you feel like implementing some headbanging in your life, this is the perfect band and the perfect record to do so.

Mutoid Man

War Moans – Vinyl // CD // DD

Sargent House – Release Date: June 2, 2017

Reviewed by Aaron “Red Beard” Wall

Supergroups usually suck…Mutoid Man does not. Formed in New York, and comprised of Nick Cageao on bass, Stephen Brodsky on guitar/vocals, and Ben Koller on skins. The latter two members are from a couple of seminal bands of the last twenty years…Cave In and Converge respectively. On the heels of one EP, “Helium Head” and their critically lauded debut LP “Bleeder” released last year, momentum has been rapidly growing. After touring for “Bleeder,” the band returned home to find out they had lost their practice space due to evil gentrification, ultimately landing in the basement of one of, if not the most heralded venue in the heavy scene…St.Vitus Bar…(where bassist Nick works as the sound-man). On the stage of St. Vitus during off hours is where Mutoid Man’s new record ‘War Moans’ was assembled and constructed. Make no mistake, Mutoid Man are one of the most exciting bands in music. Destined for legend status in the underground if not more. Chock full of explosive attitude, bombastic energy, detonating musicianship, with aftershocks of memorable melodies, ‘War Moans’ is something to behold.

“Feel the heat, of the fire at your feet,” is the beginning salvo of opener ‘Melt your Mind.’ The music starts with galloping drums and bass with a killer melodic riff coming in over the top. Brodsky’s voice immediately brings to mind Magnus Pelander of Witchcraft. The song is feverish in its energy and direct in its delivery. Fantastic thrash riffs and punk rhythms fill the middle section to perfection. The chorus of ‘don’t let it melt your mind…’ makes me feel like they’re talking about this record. It is truly mind melting.

‘Bone Chain’ is next, and immediately rips and roars. Beginning with a chuggtastic riff and groove that you cant help but bang your head to. A stellar harmonized guitar section in the bridge goes into a shredder of a solo to end. ‘Micro Aggression’ follows with a punky start and a bluesy chord progression that flows into a sing along chorus with monstrous double bass underneath that crushes. These two songs are quick and flawless. Executed with a simple virtuosity that grabs you with immediacy.

‘Kiss of Death’ is fucking sick! Sick in every way that’s good. A wildly mathy intro that drops right into the heaviest riff up to this point. Its tongue in cheek lyrics are so well written and performed that the song almost fools you into thinking it’s a pop song…which I suppose it is. If that’s the case, then this is one of the heaviest pop songs ever. The end section is pure brutality. Holy shit I love this song!

‘War Moans’ has begun with banger after banger with absolutely no let up. Next is the jam, ‘Date with the Devil’ This song is a damn masterpiece of sonic intensity as well. Mutoid Man is blowing my skull in every facet. It kicks of with another thrash shredder of a riff with a swing rhythm. Sounds weird, but man does it work. The guitar tones on this song are some of the best I’ve heard in a while. Especially the verse riff. Goddamn! In under three minutes this tune takes you from space to earth and every where in between. I can’t explain the badassness of this song. More tongue in cheek lyrics but with meaning. Very hard combination to bring to fruition and Brodsky pulls it off in spades. Go listen for yourself and get your mind blown. Wow ‘Date with the Devil…just wow.

From the pure metal riffs and blast-beats on ‘Headrush’ to the Bad Religion style punk of ‘Irons in the Fire’ Mutoid Man are exquisite. I’m running out of adjectives and superlatives for this record.

The title track ‘War Moans’ follows. This song is all Slayer and Megadeth. A pure throwback thrash song but with a fresh feel. I’m completely mesmerized and hypnotized by the songwriting and performances on these songs. Simply stunning. Marty Friedman guest solos on this track.

‘Wreck and Survive’ is another metal manifesto of amazingness. With guest vocals by the awesome Chelsea Wolfe that add an atmosphere of eeriness to this diamond of a song.

‘Afterlife’ is a straightforward slab of weight with a Burnt by the Sun feel. ‘Open Flame’ rips and roars and who has your hair back from jump to landing.

Album closer ‘Bandages’ is Mutoid Man’s homage to 80’s hair metal balladry. It sounds a little off when described that way but, its so spectacularly awesome, and a perfect conclusion to ‘War Moans.’

Mutoid Man have utterly and fantastically impressed and intrigued me. No exaggeration needed…’War Moans’ is a complete masterpiece. There is not a single note or melody wasted. No fluff, no filler. Energy and fervor from beginning to end. Expertly crafted individual songs and a complete piece of art as a whole. My early choice for record of the year. Period. I could sit here and wax poetic all night about how much I truly love ‘War Moans,’ but I’m not going to. I am going to go listen to this record on repeat…and repeat…and repeat…

REVIEW: Self described as “Cosmic Stoner Blues” comprised of “Heavy Psychedelic Riff Rock”, this three piece powerhouse is about to blow your mind and speakers in one fell swoop with this latest release of five separate compositions that stand alone and even better as a complete package. For the next 39 minutes of smoke filled vocal lamentations with a guitar slide so smooth, you can hear the blue in the glass as the bottom end rumble gives you that ‘body’ to close your eyes and roll along with each moment, taken along with all of the leading pace of this heavy-hit drumline that has enough perfectly timed fills to satiate the most veracious headbanger.

Jumping out of the gate with a SLAMMING cover of NAZARETH favorite ‘Hair Of The Dog’, GEEZER let us know they are in fine form and ready to kill with this record. Even the lead break is done in true GEEZER fashion foregoing the talk-box for more subtle phrasing and phase shifting to traverse the even darker zone to the anthemic end chorus with a full on power chord finish before the soft, slow fade into ‘Stressknots’ with a low end rumble packed with power punch until a pause…”Big apple sky dreams, make way for lesser things…” and the tone is set for the remainder of what represents the finest work so far with a sense of power and precision brought to the table to delight the faithful and pummel the unknowing with a mastery that has been gained by time spent perfecting their craft.

The slow spaced-out fade in of title track ‘Psychoriffadelia’ belies the crushing intent that hits HARD at just under two minutes when the slow-flow tempo takes hold over the SIK-solo laden body of this song.

For 10+ minutes the most delectable notes cascade over each other in the languishing flow of stoner bliss, all the way through the ending that slides effortlessly into ‘Red Hook’ with that smooth as glass transitional repeating note that lends itself right into the melody before that beautiful slide comes back accenting the flavors melting together in your mind. Soft, plush and warming in delivery, this is sand as the summation of a lifetime, in that haunting, delay strewn delivery “I don’t wanna leave, the time ain’t right, got nothing left to put up a fight…”, you feel that grip in your chest and it is perfection. From the endless fade out to the power-keyed fade in of ‘Dirty Penny’ the final shifting of gears is here and there is so much fuzzed-out wah-pedaled thickness in your face as that blues-body is filled with the might of power that these three slather on from head to toe and beyond as “Dirty Penny gets it right every time…”

The production of this in arrangements, clarity of each mix, stepped up production values and even the running order is amazing and allows ‘Psychoriffadelia’ to shine as the diamondin GEEZER’s catalog to this point. BUY THIS RECORD the second you can, share it with everybody and go out and support them LIVE if you get the chance…and keep it LOUD!!

EBISU- Lure

Release date: February 07th, 2017

Label – Self Released. Format: DD

New York is the home for this band that Ken Ghani (vox/guitars), Nikhil Kamineni (guitars/bass/synths/noise) and Tama Vadja (drums) have procured to give this epic 3-track EP to us and this is indeed something special.

A not so subtle mix of elements of post-apocalyptica/ambient/doom/industrial with a splash of stoner thrown in for good measure, Ghani / Kamineni have created a soundscape of shadows and whispers and foreboding that as ‘Sycamore’, the opener, fades in, you can feel the fog swirling as you advance with caution into the quagmire of what awaits next. Full-instrumental here that sets the tone for the remaining two tracks as the sounds that surround you seem to wrap tighter and tighter as you approach ‘The Merchant’ that is waiting in front of you and greets you with an almost tantric sounding drone-chant. Once the first hit of the snare rings out, the whisper-screams float by your ear and the droning repeats and repeats lending to the feeling of mystic capture that permeates and then seems to dissipate for the fade out of the song. ‘Good At Craft’ comes in with a lone guitar progression followed by more ambient noises closing in again from all sides, slowly closing in. The same whisper-vocal weaves around like so many snakes, the power chords giving them body to strike as you abandon to the enveloping you feel closing around like a black velvet glove that is getting firmer in its grasp of plush control, accentuated by the increased intricacy of the music that rings of almost divine splendor in that same plushness as EBISU drive you from where you stand to the multi-dimensional planes from which they have brought forth this musical mastery.

Amazing mix with solid production values give this release the power to crush and if this is the future of ambient-sludge -goth-doom hybrids, I say BRING ME MORE because three tracks just isn’t enough…

Heavy Traffic

Plastic Surgery

Twin Earth Records

Released December 17, 2016 – Cassette / DD

Twin Earth Records brings us their offering from Heavy Traffic that was purportedly recorded “live to tape” over the course of a March 2016 weekend. Ian Caddick and Tav Palumbo had recorded five albums of material in the two years previous to moving to Brooklyn, New York in 2015, intent on putting a band together to focus on playing live. Two months later this was the result.

First thing I gotta say is the vocal mix is a little too over-saturated and echoplexed to be able catch most of the lyric content on first listen. Leaning heavy on psych rock, combining elements of noise, doom, punk, and shoegaze, most of the songs move along at a tempered slower pace until “Three Stigmata” when the staccato mixes with fills galore lending to a faster pace and listenability that has been missing until. “Medicated Bed” also has a faster pace complete with guitar solos brought into the forefront making this the one I kept going back to as the standout. The bonus song with the release seemingly reflects on two members referred to as White and Green on the band’s Facebook page, presumably Ian and Tav, clocking in as one of the longest songs offered and goes back to the slower tempoed stoner tromp of the first half of this record. The track listing needs to have a smoother flow in and out as they demonstrated they could do with “Acid Sweater” running smooth as glass into “Broth Drain”. We’ll see with the progression of these guys. If they are as prolific as reported, this should be the first of much to come and I hope the polishing continues until it is refined as they find the balance in the vocal mix so the words conveyed are easier grabbed. Seeing Heavy Traffic Live would be the venue to get the full affect in my opinion of this solid debut on Twin Earth Records. If you like your Traffic “Heavy,” this is release is for you!